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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 11 to 19 of 19 (0.05 seconds)Spelling suggestions: "subject:"aublic pedagogy"" "subject:"apublic pedagogy""
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Tuning In to a Hit Parade PedagogyKom, Brian S. R. January 2014 (has links)
Contemporary popular music is a ubiquitous social, cultural, and pedagogical force.
Enabled by ever-evolving and -expanding technology, its songs and lyrics are transmitted
into our most public and private spaces. For this study, I present the Billboard music charts
as a functioning pedagogy and curriculum. Riffing on Richter’s denkbilder, Aoki’s curricular worlds of plan and lived experience, Giroux’s public pedagogy, and Giroux & Simon’s
theorizing on youth culture, I sound out messages and motives embedded within the hit
parade pedagogy. DJing a methodology of qualitative inquiry, autoethnography, and free
association, I listen closely to chart-topping songs by Lady Gaga, Katy Perry, and P!nk that
feature themes of marginalization, and consider the paradox presented by the juxtaposition of
their popularity and subject matter. I suggest that this playlist legitimizes and perpetuates its listeners’ marginalization, running counter to its supposed intent to galvanize and inspire.
Before signing off, I consider the implications for school-based educators and pedagogy in
regard to engaging marginalization, particularly the notion of implementing a curriculum
with which students may participate and sing along.
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Public Pedagogy and Relational Philanthropy: An Insider Action Research Study of Columbus SOUPEmory, Jorie Lynne 21 May 2015 (has links)
No description available.
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CARTOONING EVIL: AN EXPLORATION OF THE ARCHETYPE OF EVIL IN CARTOONS AS PUBLIC PEDAGOGYCrystal Snow Webb (18424662) 23 April 2024 (has links)
<p dir="ltr">This thesis explores the dynamic evolution of cartoons as a medium of public pedagogy, focusing on the portrayal of morality, the changing landscape of moral narratives across networks or studios through time, and its intricate influence on relationships. Cartoons, spanning from the American classic era of Looney Tunes and Scooby-Doo, Where Are You! to the contemporary phenomena of The Dragon Prince and Miraculous: The Tales of Ladybug & Cat Noir, act as potent agents of social education. Understanding cartoons as an accessible form of public pedagogy, this research examines the moral dichotomy of good and evil archetypes depicted in these animations. By analyzing the diverse approaches of networks and studios across time, this thesis uncovers the nuances of moral storytelling, revealing the intricate interplay of social values and creative choices. Furthermore, the thesis investigates the portrayal of relationships within these moral contexts, emphasizing the impact of animated narratives on societal perceptions of interpersonal connections.</p>
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Unsettling exhibition pedagogies: troubling stories of the nation with Miss ChiefJohnson, Kay 11 September 2019 (has links)
Museums as colonial institutions and agents in nation building have constructed, circulated and reinforced colonialist, patriarchal, heteronormative and cisnormative national narratives. Yet, these institutions can be subverted, resisted and transformed into sites of critical public pedagogy especially when they invite Indigenous artists and curators to intervene critically. They are thus becoming important spaces for Indigenous counter-narratives, self-representation and resistance—and for settler education. My study inquired into Cree artist Kent Monkman’s commissioned touring exhibition Shame and Prejudice: A Story of Resilience which offers a critical response to Canada’s celebration of its sesquicentennial. Narrated by Monkman’s alter ego, Miss Chief Eagle Testickle, the exhibition tells the story of the past 150 years from an Indigenous perspective. Seeking to work on unsettling my “settler within” (Regan, 2010, p. 13) and contribute to understandings of the education needed for transforming Indigenous-settler relations, I visited and studied the exhibition at the Glenbow Museum in Calgary, Alberta and the Confederation Centre Art Gallery in Charlottetown, Prince Edward Island. My study brings together exhibition analysis, to examine how the exhibition’s elements work together to produce meaning and experience, with autoethnography as a means to distance myself from the stance of expert analyst and allow for settler reflexivity and vulnerability. I developed a three-lens framework (narrative, representational and relational/embodied) for exhibition analysis which itself became unsettled. What I experienced is an exhibition that has at its core a holism that brings together head, heart, body and spirit pulled together by the thread of the exhibition’s powerful storytelling. I therefore contend that Monkman and Miss Chief create a decolonizing, truth-telling space which not only invites a questioning of hegemonic narratives but also operates as a potentially unsettling site of experiential learning. As my self-discovery approach illustrates, exhibitions such as Monkman’s can profoundly disrupt the Euro-Western epistemological space of the museum with more holistic, relational, storied public pedagogies. For me, this led to deeply unsettling experiences and new ways of knowing and learning. As for if, to what extent, or how the exhibition will unsettle other visitors, I can only speak of its pedagogical possibilities. My own learning as a settler and adult educator suggests that when museums invite Indigenous intervention, they create important possibilities for unsettling settler histories, identities, relationships, epistemologies and pedagogies. This can inform public pedagogy and adult education discourses in ways that encourage interrogating, unsettling and reorienting Eurocentric theories, methodologies and practices, even those we characterize as critical and transformative. Using the lens of my own unsettling, and engaging in a close reading of Monkman’s exhibition, I expand my understandings of pedagogy and thus my capacities to contribute to understandings of public pedagogical mechanisms, specifically in relation to unsettling exhibition pedagogies and as part of a growing conversation between critical adult education and museum studies. / Graduate
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Solitude and Solidarity:Understanding Public Pedagogy through Queer Discourses on YouTubeSnell, Pamela 17 March 2014 (has links)
Working alongside five queer-identified theatre artists, using critical arts-based participatory action research, this research project worked through a creative process in which the research team identified, deconstructed, and disrupted normative queer discourses on the video-sharing website YouTube. Using notions from queer theory, cultural studies, and anti-oppression education, along with embodied analysis as a deconstructive strategy, the research team used collective theorizing and performance to facilitate an analysis of the online videos. In this thesis, I discuss embodied knowing by analyzing performative moments in the creative workshop undertaken by the research team. I then provide a thematic analysis of the online videos, followed by an analysis of how the research team used collective creation and personal narrative to produce a counter-hegemonic response video. Finally, I conclude with a discussion on how to engage video creation as a form of anti-oppression education that queers public pedagogy.
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Solitude and Solidarity:Understanding Public Pedagogy through Queer Discourses on YouTubeSnell, Pamela 17 March 2014 (has links)
Working alongside five queer-identified theatre artists, using critical arts-based participatory action research, this research project worked through a creative process in which the research team identified, deconstructed, and disrupted normative queer discourses on the video-sharing website YouTube. Using notions from queer theory, cultural studies, and anti-oppression education, along with embodied analysis as a deconstructive strategy, the research team used collective theorizing and performance to facilitate an analysis of the online videos. In this thesis, I discuss embodied knowing by analyzing performative moments in the creative workshop undertaken by the research team. I then provide a thematic analysis of the online videos, followed by an analysis of how the research team used collective creation and personal narrative to produce a counter-hegemonic response video. Finally, I conclude with a discussion on how to engage video creation as a form of anti-oppression education that queers public pedagogy.
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Imagineered Imperial Tourism: Disney & US Empire in Hawai'iRachel E Bonini (8364543) 19 April 2022 (has links)
<p> </p>
<p>Many viewers—especially those from the continental United States—have praised Disney for such recent actions as casting Pacific Islanders in the animated feature film <em>Moana</em> (2016) and assembling a group of cultural advisors (named the Oceanic Story Trust) to guide the filmmakers’ creative decisions. However, my project contends that Disney continues to play a significant role in the maintenance of settler colonialism in Hawai‘i, despite these seemingly progressive attempts at challenging Hollywood’s whitewashing. In this project, I argue that Disney creates and replicates the structures of settler colonialism in Hawai‘i through a mechanism that I term <em>imagineered imperial tourism</em>. In my formulation, imagineered imperial tourism involves commodifying historical narratives of colonization to serve the Disney brand by “innocently” repackaging them for the purpose of settler tourist consumption. To signal a Disney-specific branding and reproduction of settler colonial tropes and ideologies, I use the term “imagineered”—a play on Disney’s trademarked term <em>Imagineering</em>, which names the work of the creative team tasked with engineering the company’s most innovative devices, built environments, and technologies.</p>
<p>Through a sustained study of Disney’s relevant productions—from the feature films <em>Lilo & Stitch</em> (2002) and <em>Moana</em> to its built environments at the Walt Disney World Resort in Orlando, FL, and Aulani, A Disney Resort & Spa in Ko Olina, Hawai‘i—I suggest that over time, Disney has normalized a version of Native Hawaiian people and history in US popular culture that reproduces common settler colonial discourses which have structured popular perceptions of Hawai‘i. The company’s almost century-long history of media production has cemented these discourses into a set of public pedagogies that have been reproduced across generations. Disney’s Pacific Island-themed productions and attractions are rife with tropes of native primitivism and imperialist nostalgia. They also reveal the primacy of the discursive framework of hegemonic multiculturalism vis-à-vis the commodified “spirit of aloha,” a sentiment which is superficially rooted in Native Hawaiian epistemologies and branded as a key selling point by the tourism industry. Furthermore, Disney has actively colonized Hawaiian lands since 2007, capitalizing on the Islands’ exploitative tourist industry while also obscuring longstanding battles over land ownership and denying Native Hawaiians sovereignty over their stolen lands. Ultimately, I suggest that Disney’s ostensibly “innocent” repackaging contributes to the violent erasure of Native Hawaiian history in popular culture. </p>
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A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and HealingStasko, Carly 14 December 2009 (has links)
This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.
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A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and HealingStasko, Carly 14 December 2009 (has links)
This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.
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